The telephone of life What subtext acquires the topic of the road. "True Life" a

The poem of the "Treag of Life" was written in 1823. At this time, the poet was on public service In the office of the governor Odessa Count Vorontsov. Pushkin Alexander Sergeevich can online.

The poet had enough time to find the daily routine of boring stationery to find minutes for reflection and creativity. The work is imbued with deep philosophical motifs. The image itself is the image of creaking carts, and not fast sleds or a gouring horse - symbolized. The author compares the different states of the daughter at different times of the day with the stages of human life. Morning - the beginning of life, is associated with youth, energy, aspirations. The rifle is full of strength and might and main drives horses. Noon - the stage of maturity, when the move is faster and there is no, there is no brave, and a person, relying on experience, becomes more prudent. In the evening, together with fatigue, old age is knocking, and the rummer, Dreml, dreams of getting to the night. The cart of the carts makes their own circle, immersed in the full power of established life rules and laws. In Pushkin rows, the lyrical feelings and philosophical reflections are closely intertwined.

The text of the poem of Pushkin "True Life" can be downloaded completely and learn in the lesson of literature in the classroom.

Although it's hard at her burden,
The cart on the move is light;
Ditch dashing, gray time,
Lucky, does not leave the irradiation.

In the morning we sang in the cart;
We are glad to break your head
And, despising laziness and air,
Shouthing: I went! . . . . . . .

But at noon there is no one courage;
It ragged us: we are terrible
And skaters and ravines:
Shouthing: easier, fools!

Katit is still a cart;
In the evening we are accustomed to her
And we are drowning until the night,
And the time drives horses.

Although it's hard at her burden,
The cart on the move is light;
Ditch dashing, gray time,
Lucky, does not leave the irradiation.

In the morning we sang in the cart;
We are glad to break your head
And, despising laziness and air,
Shouthing: I went! Fuck * for mother!

But at noon there is no one courage;
It raised us; We are terrible
And skaters and ravines;
Shouthing: easier, fools!

Katit is still a cart;
In the evening we are accustomed to her
And, drem, we go until the night -
And the time drives horses.

Analysis of the poem "True Life" Pushkin

The literary work of Pushkin affects almost all aspects of our lives. Philosophical themes, observation of the laws of the Universe, about the place in her man, is one of the most extensive in the works of the poet.

The poem of the "Treag of Life" was written in 1823, during the service of Alexander Sergeevich in the Office of the Odessa Governor General. Daily routine did not add it to him have a good mood, drove into depression and contributed to the philosophical approach to the perception of reality. About condition inner world The poet during this period clearly indicates the fact that in front of the seal of this poem, in his own request, some obscene expressions were seized from the text, which the author sometimes allowed himself, being not at the best arrangement of the Spirit.

From the very first lines of the poem, we see a certain proportion of pessimism in symbols: the human life of Pushkin compares not with the harrowful horses or a luxurious carriage, namely with a cart, where in the role of an inexorable, non-promotional time is the "dashing rocket".

In the "telega life", the poet very much describes the psychology of all stages of the human being. The morning, symbolizing youth, carries the joy and completeness of life: "The cart on the move is easy," and we sit down in her "despous laziness and the air." Then follows the period of maturity - noon - in which "there is no, the courage." The accumulated experience dictates the need for a sober assessment of the situation, solutions become more deliberate, subordinate logic and yamchik we scream "easier!". And finally, the evening comes, the time when a person gets used to his cart and the path has passed that there is no particular joy from the trip. An optimistic attitude retreats, and it comes to shifting irritation from frequent hits in bumps.

The last string of the poem symbolizes the inevitable cycle of life. The laws of time are inexlaries, people are born, dying, and others come to replace them. And change something in the existing manner cannot be able to change. Everything is provided in advance.

The generalized nature of proposals in the poem, using the personal pronouns of the 1st person in multiple numberIt indicates that the hero is the most ordinary person. He does not oppose himself a common mass and, as well as everything, obeys the laws of the universe.

"True Life" refers to the early philosophical works of Pushkin and, like most of his poems, filled with an amazing understanding of the reality and its laws inherent in the whole creativity of the poet with love of life.

I dedicate the article by Barbara Polonskaya, which in one of the discussions in the literary salon showed interest in the "telega life". This has become an incentive of my work.
A. Sapire

But here is the case (...) in the properties of the language,
in which once written and ingenious
Pushkin "Telega".

Annensky I. F. "On modern lyricism."

Vyazemsky and himself was one of the discovers
Road themes in Russian poetry. Back in 1818, Vyazemsky
Created a poem "Ugaba", where the themes "paths" and "eating"
acquire expansion, symbolic meaning,
preparing to some extent poetic material
For the brilliant Pushkin "Cart of Life".

M. Friedlander. Pushkin's poetic dialogue with P. A. Vyazemsky.

November 29, 1824, while already in the Mikhailovskaya link, A. Pushkin writes a letter to P. Vyazemsky. He expresses his opinion on literary novelties, reports the plans of the publication of some works, mentions the chapter "Onegin", a given brother for printed in St. Petersburg. And at the very end of the letter, already writing a date, asks a friend to a friend: "Do you know my teleg of life?"
Then reproduces the text of the poem:

The cart on the move is easy:
Ditch dashing, gray time,
Lucky, does not get off the irradiation.

In the morning we sang in the cart;
We are glad to break your head
And, despising laziness and air,
Shouthing: Valya * (...) Mother!

And skaters and ravines:
Shouthing: easier, fools!

Katit is still a cart;
In the evening we are accustomed to her
And Dreml, we go until the night -
And the time drives horses.
1823

* In the final edition, instead of the word "Valya", the word "went" was used.

So let's turn to the text of the poem "True Life".
In building a poem, as in the best creations of the poet, "rigor and harmony" and laconicism. 4 Straas, of which the first is a kind of exposure, each of the others is one of the periods of human life as stopping on the way.
Discount in the first street:

Although it's hard at her burden,
The cart on the move is light;
Ditch dashing, gray time,
Lucky, does not get off the irradiation.

The name of the "Treag of Life", in which the main word "cart" and the exposition, which, at first glance, sets the circumstances of the action, are tune in to the fact that in the poem it will be about the journey. However, when reading the first stanza, you pay attention to keywords. All of them are associated with the journey, and all except direct sense, suggest other - metaphorical. The phrase, which became the name of the poem, sounds unusual, unconventional, and even agree with D. Blagim, defiantly. Together with other words of the first stanza, such as the "burden", the "dyesman - gray-gray time", "lucky, does not get off the irradiation, it becomes key. All these words can only be explained by the content of the first stanza and are revealed only in the context of the entire poem. Deciphering the meaning of the word "burden", D. Bonaya says that it hints at hard to choose, for considerable weight (physical) seed. This is true, but this content is not exhausted. Already in the first stanza, its expansion meaning is guessed. If only because it and the word "time" rhymes with him - so far the few words from high vocabulary, while others are common to vocabulary. The same incident and in the title: The word "cart" is undoubtedly the vocabulary of ordinary and even spaticral, but in combination with the word "life" it acquires another, while the mysterious meaning for the reader. Other keywords behave in the same way: "Dashchik Lyochik" - who is not clear to this figure and this word "But it becomes a" mysterious stranger "in combination with the Gray-Time App.
To decipher the values \u200b\u200bof the keywords of the first stanza, we will return with the analysis of the final mossets.
Consider the second street:

In the morning we sang in the cart;
We are glad to break your head
And, despising laziness and air,
Shouthing: I went! ...

If the first stanza warned us that it would be about traveling, in the second - it is already a subject of image. Morning of life, as the beginning of a life path, draws full of vitality, the energy of overcoming ("We are glad to break their heads, despite laziness and the air"). The image of the saddle appears - this is twice repeated "we". All actions and experiences are depicted on behalf of not one, but many are drawn as typical. W. acting person Character is guessed - adventurous and mischievous. The most "Russian title" testifies to the latter, which Pushkin offered to remove in the case of publishing a poem. The abundance of verbs and verb shapes: Sadding, shouting - in the present time, transmitting a typical, rooted nature of action. The verb shape is tokenness (despised) possesses the same meaning. Finally the verb in the form insecurity (I went), the verb phraseologism (to break the head) serve the same goal - to convey the impatient nature of the saddle, aspiring to overcoming the obstacles encouraged on the path.
We note in this stubborn the prevalence of spoken vocabulary, up to the Oblast. And this, too, in its own way, characterizes the saddle of a man - a person of any class, having a journey as a way of lifestyle, entrusted to the vocabulary of yamshchikov, the innovative courtyards, impatient guests, etc.
Go to the third stanza:

But at noon there is no one courage;
It raised us; We are terrible
And storage, and ravines;
Shouthing: easier, fools!

Perhaps, the metamorphosis that occurred with the saddle is more visible in this stubborn, especially if it compare its content with famous myth. The middle of the way (in the sense that Dante in joining to " Divine Comedy.":" Entry Life Passing to half ... "), noon of life is drawn not to the rise, but by extinction vital energy. And, perhaps, the strongest thing is felt in the line, in which anaphorically repeats the verb "shouting": "I shout: easier, fools!" It seems that the same verb lost its strength and piercing. And no mischief is no longer felt in the continuation of the phrase - in circulation to the cab: "Potache, fools!" On the contrary, there is no desire to hurry, slow down the horses too quick. Compared to a plurality of verbs and the verb forms of the previous stanza in the third, except called, there is also a verb "striking" (not even "crushed"), the value of which, reinforced by another prefix, comes down to the following: "Deleant Much", "terminate one Beyond the other, "in addition, the duration and duration of the action are transmitted by pyrries (or peon - four-sided size: three unstressed, one shock), that is, at the level of the rhythmic organization row and stanza. And one more note: it is impossible not to see in this word delicately pronounced roll call with the "ugab" of Vyazemsky: because "grieving" may be primarily on Ughab.
The predicates "There are no soumps" and "we are terrible", firstly, the concrete subject lost, was impersonal, and secondly, they do not contain actions. This is what the degree of accuracy of Pushkin in the show of the changes, which was prone to "sedodes" on his life path!
The last stanza sums up the life of the saddle of the saddle and the entire poem:

Katit is still a cart;
In the evening we are accustomed to her
And we are drowning until overnight.
And the time drives horses.

The main meaning of this stanza, its first three lines, is a show of the power of habit ("the habit of more than us is given, the replacement of happiness is", "will say the overreal Pushkin with the mouth of one of the heroines in Evgenia Onegin. But it will be later!) Here it is The mood is expressed not only by the verb "accustomed", but also by another phrase - "Katit is still." I got used to so much that it's not least on the way nor Sanobor, no ravines, but spreads a smooth path. I got used to so much that "I'm drowning until the night" - that is, to a natural life end. Hero accustomed to the hero ("we", sedodes), almost sleeping even dear. Not waiting for the shocks almost a sloughbook ...
Especially explosive turns out to be the last line of the entire poem - "And the time drives horses." "Explosive" - \u200b\u200bbecause the word "drives" is read as "opposed habit, the ordinary go of things," and because, at least a line and prepared by all the plot, completely in a new way, and something unexpectedly, opens the essence of his movement . The string returns us to the beginning of the poem, forces it to count it again. Only so you can understand its explosive nature, its composite role in the poem built as the most perfect architectural constructions.
But - a few more observations.

We saw how gradually changed sedoxes - one of the heroes of the poem. it showing Pushkin and is the basis of the developing fabul. But in poem two heroes. In order to understand whether the second changes, comparable to them. They are correlated directly in the formulations of the first and last stuff. In the first - "dashing bar, gray-time", in the latter - just time (so it seems that capital letter In the word - not only tribute to the poetic tradition - to start the line with it). About the time in the first stanza is also said: "Carries it, does not get off the irradiation." In this character, the inexorable force is already laid, which so powerfully manifest itself in the final of the poem.
At first glance, it seems that in the median stanza, the image of time is not in the frame, but for him, does not show its mercury essence. We hear even how the sedodes command the daughterman. After all, he twice "screaming", giving orders. But we have already seen that as I moved and the strength of the cry weakens, and not the yamper is escaped to the Sedoka, and the sedodes are more and more humble (getting used) to the movement of time, obeys him. It is time that changes the saddle and, it means "commands" them.
By time, first of all, our arguments about the multigid images are about different meanings laid in them and their interaction. Consider this aspect.
As already mentioned, the duality of the image of the time is as follows the first stanza. The first mention of time, the first and instant portrait of it, albeit without the details, is the "ditch". Details add readers themselves. We put ourselves to the place of these readers, think about these details, otherwise it is not to understand that D. D. Good named "Challenge".
Perhaps the reader remembered that the "Yamsk gang", "in bad roads" - " characteristic feature It is the Russian way of movement ". Perhaps he, like Pushkin himself, "Yamchichsky estate" was kindly ", and that it is a class, it took a special place among other estates. Thus, the special decree of 1800 g. It was prescribed that the glazers were not under the age of 18 and not older than 40 years old, "good behavior, sober and not suspicious with these passports and certificates for the adoption of the trustiness of their behavior." (All information is drawn from the Onegin Encyclopedia, t. 2, the article "Ranger"). Pushkin's time does not simply appear in the image of the yammer, and the yammer is "Lich". That is, the poet uses a steady expression for its characterization, also learned in the practice of living spoken language. In this characteristic time (with stritch letters), like member, is a figure that is familiar with everyone traveling. Despite the youth of Pushkin, familiar well and him. In the future, we will see that the "man" is not a random guest in the poem. That this kind of "challenges" (that is, the presence of popular consciousness, folk traditions) is enough in the poem. But do not forget that in the same stubborn, in the same line, the time appears as it would be written from a capital letter, because it opens its formidable face: this is "gray-time", which "luckies, does not get off the irradiation."
Returning to the first storm, listen again to the sound of the word "burden", think about it in its second - metaphorical - meaning. After all, this is one of those words whose content is revealed to the whole poem. The weight of his sound is felt physically due to the epithet "hard" (grammatically "hard" is a fault, but it characterizes the word "burden", that is, it also acts as epithet). The severity is enhanced by the fact that the epithet was far from the defined word, and because it turned out to be broken with two syllables - Yambic and Pyrrhichyev (perhaps the first four syllables - three unstressed and shock - constitute Peon. In the very first syllable, the emphasis is weakened so much that The syllable can be considered unstable). Everything that said suggests that the severity of this word is not accidental - she gives the metaphorical meaning of the word: it's not so much about physical severity, how much about life burden. And this is already talking about this in the first stanza, where the concept of time where the variability is noticed, the game of meanings is noticeable.
On the one hand, this is the very time that "drives horses", on the other, it is a bug, who, as it should be, "does not get off the irradiation." And throughout the poem, the same duality about which we have already spoken. Sedok shouts into a yammer, as if he manages himself and time, and in fact obeys him. As a barn, he is "placed" in the spacious linguistic environment (the surrounding vocabulary and appeal to Him "duralli"), and meanwhile before the gaze of the saddle and the long way of life opens with the inevitable "overnight" at the end of the way - the majestic picture of the eternal movement. As you can see, the "call" of the poet does not mean refusal from tradition, and in the image of time, along with common features, we feel the presence of a chronos. God and commoner in one person - this is the true opening of Pushkin.
Attention is drawn to the use of the epithet "Gray" with respect to time. The definition may also relate to the age of the yammer, although we remember that the glazers were not over 40 years old, but this age was considered already venerable. But there is in this word and another shade (again ambivalence!). According to the dictionary, one of the meanings of the word "gray" is decrypted as "referring to a distant past, ancient." So, through a momentary, including human life, shines eternity, and in the movement of the "private" time there is a time - one and eternal.
In order to understand the image of the time as it appears in the final of the poem, we will collect all the characteristics of it, both explicit and indirect throughout the poem. First of all, comparable to the definition of the first and last stanza.
In the first stanza, two definitions are expressed by adjectives - "dashing" and "gray". We will not forget that the first of the definitions is given time, which is presented in the role of a good thing to all familiar daughter. A single definition relating to the time actually expressed by the adjective "gray", which was mentioned above. All subsequent definitions are expressed by verbs. We are comparable to them.
In the first stanza, it is "lucky, does not get off the irradiation." We note that both verbs characterize the time in its both is an amazes. They belong to the daisy, giving it a "professional" characteristic (executes his duty diligently, perhaps, zealously), and by time. The characteristic underlined what is indicated by the high word "exclusion", and inflexibility.
In the median stanza, where there are no direct characteristics, we, however, have seen that the time acts on the saddle, changes it, makes it makes it necessary to obey.
In the last stanza "Time drive horses. " The word is multivalued, but in all values \u200b\u200bsomething common is traced: force move, encourage to movement, guide traffic, urge...
In other words, in the word "chant" we feel no longer a volition as potency, but will be stronger than that those who drive, feel inflexibility and merciless. Time appears a symbol that personifies fate or rock, as they understood in the Greek tragedies.
N. N. Skatov mentioned above, who gave his interpretation of the poem "The Treag of Life", refuses to poet in the "lyrical experience" of the limb of life, outgoing time, death: he writes: "In frankly and emphasized, the allegorical" telega life "has not been and not Could be inner drama, the "noon" himself looked rather a distant outlook than the condition experienced "; And then he says that in the poem under consideration there was no problem "Life - Death".
It is difficult to agree with such conclusions.
First, because in the last stubborn there is the word "overnight", which is read like all keywords, and in the literal and figurative sense. If you see in the poem, the plot of traveling through the bumpy Russian roads in the cart with a yammer on the irradiation, then the word "overnight" is read as the desired rest of the exterminated cat seed. If you trace the movement of the allegorical plot, then "overnight" is read as a natural end of the life path - as death.
You can agree with the fact that in other, later, verses of Pushkin's opposition life - death is felt more tragically, but the wing of death undoubtedly touched the poem of the "Treag of Life".
That is why the last line is read as awareness of the fact that time is weaving that life is finite, as any journey that a person wants it or not, obeys the inexorable time of time.
It would seem that reflections do not correspond to the age of the author. But do not forget those tests that have fallen into his share, because only a link that has already lasted four years, I changed the place of residence of the prisoner three times, and every time he himself was not. The rest has already been said at one time. In addition, the feature of the creative and life path of Pushkin, as many researchers celebrate, there was a ability to change sentiment. When, following, it would seem, the stream of life, suddenly (and in fact naturally) there was a sharp braking, pause. When it would seem, among the reckless fun - the time of thoughtfulness or even despair fell sharply.
One of these pauses when it was necessary to comprehend life PathAnd it was the time of writing "Life Carts". Reflecting on the problem of "man and time" in relation to his and someone else's experience, Pushkin could not help but state that time has a mystical power over man. It "drives horses", and the cart of life in which every mortal makes his life path, sustained her time, and not vice versa.

And now, as promised, we consider the place of the poem of the "Treag of Life" among the later works on this or close topic of Pushkin himself and its contemporaries. We are watching an amazing thing: neither Pushkin himself nor his contemporaries managed to create poems, as deep and multidimensional, with such a rich palette and the game of meanings. Rather, it is necessary to say that each of the topics of the "lifestyle" is developed as independent, and as such is brought to its logical end. Each topic covered with its shades, but in no philosophical thought about the collision of man and time does not sound so tense. The focus of the image is shifted - towards the show of the road, especially winter.
So, in the poem of Pushkin "Winter Road" (1826) the topic of the road sounds Elegic, it is as it were illuminated and "okoltsovanny" the light of the moon. The first stanza begins in this way: "The moon is pierced through the wavy fogs ..." the final sounds almost the same: "Removed the lunar face." The email character of feelings during the trip is accompanied by as refrain, the "single-paved bellchik", which "tiringly rattles", and the "long songs of the yammer", in which the "native" is heard: "That ragble is a remote, / then cardiac longing." Signally speaking, the bell tape is "audgerate" in the late poems of Vyazemsky. This was remarkably told G. M. Friedlander in the article "Pushkin's poetic dialogue and P. A. Vyazemsky", which was quoted above: "... Later himself later, at another stage of development, it sought to master new, non-deposit images of the Russian winter ( That's how the topic of the road - A. S.) has shifted. (...) In the cycle "Winter caricatures" (1828), and even later in such poems, as the "Road Duma", "More Troika" (1834), (...) Following Pushkin - the author " Winter expensive"(1826), where the topics of the Russian winter, the roads, the troika, the change of the" tedious "and" single-pane "ringing of the bell tver and the Yamchchchiki song," removed raglen "and" cardiac longing "are connected. (p. 168 - 169).
In the poem of Pushkin "Road complaints" (1830), attention is focused on the roadscapes, each of which threatens the hero of death "not in the hereditary burgroge, / not the medium of the selected graves,"

On stones under the hoof
On the grief under the wheel,
Il in the rock, water blurred,
Under the disassembled bridge.

Ile the plague picker me
Ile Moroz opens,
Ile my forehead barrier shines
Disproverable disabled.

Ile in the forest under the knife villain
Come aside
Ile from boredom
Somewhere in quarantine ...

But, despite the fact that many Naitaria threaten the hero of death, her arrival is not depicted as the tragic confrontation between life and death, man and time. First, because the poem is very competed by the irony, which reduces the heat of passion and decreases by itself the tragedy. Secondly, in the poem, something contrasting with death is present - the desired goal of all the journey: home comfort or at a thin end - warmth and intake of the restaurant.
In the poem of the Vyazemsky "Russian God" (1828), written before Pushkin "Road Complaints", but after the "Winter Road", we again meet with the roads, which appear here in the concentrated form:

God of blizzards, God of Ughabov,
God of painful roads
Stations - Tarakani Headquarters,
Here he is, here he is, Russian God.

All road cataclysms, tormented by travelers, are presented as eternal and inevitable - they are sanctified by the Russian God.
It is interesting to roll-drawn themes in the already disassembled verses of Pushkin and in the poem of E. Baratynsky "Road of Life" (1825). We will give it completely:

On the road of life equipment
His sons, madness us,
Dreams Golden Fate Good
Gives a reserve known to us.

We are fast years postal
From Corchma brought to Corchma,
And dreams of those fatal
We pay roses.

The poem is written in that very year, at the very beginning of which the poem of Pushkin's "Treag of Life" was published. It seems to us that the name of the poem is given by the analogy with Pushkinsky. It is also presented by the work closest in the Spirit Pushkinsky. (It is not by chance that Pushkin loved the work of his younger contemporary so much, defending his talent in disputes with Vyazemsky).
At Baratynsky, like Pushkin, plans are combined - real and metaphorical: life is represented by an expensive, on which the "mail years" (wonderful image!) From Corchma to Korchme. But, if Pushkin has a person at some point in this path hears and hardly sees the time and his inappropriate move, then the Baratyan man in a life path is parted with the illusions, fucking - "golden dreams", which he generously endowed in the most The beginning of the life path. Lost dreams are paid by "Ramans of Life", "themes of fatal" are paid. Speaking about "golden dreams" "madness of us," Baratyansky judges from the height of more mature age (if in a lyrical height to see Alter Ego author, then at this moment 25 - 26 years old), and not from the position of a person, only "earther on the road life. " And what melancholy and disappointment sound in his words! Meanwhile, in the "telega life", the poem is undoubtedly more tragic, there is neither disappointment or melancholy. There is an insight, and there are courage to see reality.
The poem of Baratynsky is remarkably pure the poetic means of resolving the topic, philosophical saturation The same as Pushkin, images. But we are more likely to the concept of Pushkin and his position.
So, let's summarize some results.

In 1823, the crisis for Pushkin, as he parted with his youth, moving in a different age period, parted with illusions, an increasingly gainful look at life, the poet creates the poem of the "Treag of Life". Maybe it is precisely the crisis state of the author that the acute perception of the problem of "man and time" is determined, its deeply personal decision. The harsh philosophy of life, its irrevented laws demanded such truthful answers primarily from the most lyrical entity (such a collective "We) acts in the poem. But, since the lifestyle itself personifies in the image of the road and rolling around the carts, then "we" appears in the image of the "saddle". The main discovery of Pushkin is that in the image of the yamchik, the time itself appears. It is it driven by a cart, rolls the path, changes the viscosity of the saddle of life, "drives horses" wanted that Pushkin or not, but he, having received a legacy from the Vyazemsky road topic, taken into inheritance creatively. The real and metaphorical meaning in the plot in the plot, he not only enriched our idea of \u200b\u200ban antique myth or traditional idea of \u200b\u200blife path, he first equalized in the rights and two elements of the language - spacious and high vocabulary. And this gave him the opportunity to give an idea of \u200b\u200ball the terms of the plot: Life as a way and how traveling in the cart, time as a yammer and time as a philosophical category, a lyrical subject as a generalizing "we" and as "sedoka" in two plans, sometimes diverge, sometimes intertwined and indiscriminate.
Personal experiences of the dramatic turning year, as always in Pushkin, integraded into perfect lines, in perfect architectonics and perfect images of the poem. In the perfect sample of philosophical lyrics, without clarifies and reasoning, but in living images that will be thought and feelings. And, as before, and will always be, the poem, embodied so much for Pushkin himself, became the healie itself for him.

Asya Sapire

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"Lyceum Friends Pushkin" - Uncle Vasily Lvovich Pushkin - a popular poet of early 19th century. It was condemned to the catguard into Siberia after the Decembrists' uprising ("My first friend ..."). The image of the "friendship" in the lyrics: Brother Lev Sergeevich. Lyceum friends of the poet. Mother Nadezhda Osipovna, nee Hannibal. Father - Sergey Lvovich Pushkin. "The old mansman noticed us and, in the coffin, coming, blessed ...".

"Goethe and Pushkin" - Pushkin in the "Faust" first was an act, not the word. I remember a wonderful moment: you came in front of me like fleeting visionLike a genius of pure beauty. The storms of rushing rebellious scattered former dreams, and I forgot your voice gentle, your celestial features. Goethe man saves the forever feminine Pushkin mystic eternal femininity alien.

"Poets of Pushkin's Pushkin" - Svetlana. Batyushkov - artist. Pug Pushkin. Kyhehelbecker - Decembrist. Correspondence Deligus and Pushkin. Baratynsky comes in ordinary. Evening Star. Zhukovsky Vasily Andreevich. My good genius. Batyushkov Konstantin Nikolaevich. A.S. Pushkin. Wilhelm Kyhehelbecker. Illegitimate son. Astrakhan Gusar Regiment.

Total in the subject of 48 presentations